In the late 80s, when digital synthesis was all the rage, Roland dropped the W-30, a keyboard that was more than just a synth. It was a workstation, a term that meant you could sample, sequence, and play sounds all from one box. For its time, it was a beast, packing a 16-bit D/A converter (though it used 12-bit samples) and a built-in 16-track sequencer. Its sound, often described as "dirty" and "heavy," had a distinct lo-fi character that gave it a unique flavor. The W-30 wasn't just a piece of gear; for a lot of musicians, it was a complete studio. 🎹
One of the most famous users of the W-30 was Liam Howlett of The Prodigy. He basically built the band's early sound on it, using the W-30 for all their early tracks, right up to their massively successful album, The Fat of the Land. It was so central to his workflow that even after moving to computer-based sequencers, he still tried to replicate the W-30's feel and creative limitations. Another artist who swore by it was Erick Sermon of the hip-hop group EPMD. He loved its gritty sound, claiming, "I love the way it sounds. It's dirty, and the bass is heavy." That signature sound can be heard all over his production work for artists like Redman and Run-DMC.
Beyond the big names, the W-30 found a home with a variety of other artists. DJ Paul of Three 6 Mafia used it to create their signature 90s proto-trap sound, often re-sampling the group's hooks to get that distinctive feel. The keyboard was also a go-to for Steve Hillier of the UK band Dubstar, who programmed their entire debut album Disgraceful on it. It even made its way into the world of video game music, with Hiroyuki Iwatsuki using it to compose the soundtrack for the SNES game Wild Guns. The Roland W-30 may be a vintage piece of gear now, but its influence and legacy, particularly in electronic and hip-hop music, are undeniable.
